Henry Purcell

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This article is about the 17th-century composer. For the New York judge, see Henry Purcell (judge). For other uses of Purcell, see Purcell (disambiguation).

Henry Purcell
Portrait by John Closterman, c. 1695
Bornc. 10 September 1659
Westminster, London, England
Died21 November 1695 (aged 36)
Marsham Street, London, England
WorksList of compositions
Children6, including Edward
RelativesEdward Henry Purcell (grandson)

Henry Purcell (/ˈpɜːrsəl/, rare: /pərˈsɛl/;[n 1] c. 10 September 1659[n 2] – 21 November 1695) was an English composer of Baroque music.

Purcell's musical style was uniquely English, although it incorporated Italian and French elements. Generally considered among the greatest English opera composers,[4] Purcell has been assessed with John Dunstaple and William Byrd as England's most important early music composers.[5]

Life and work

Early life

Engraved portrait of Purcell by R. White after Closterman, from Orpheus Britannicus

Purcell was born in St Ann's Lane, Old Pye Street, Westminster in 1659. Henry Purcell Senior,[4] whose older brother Thomas Purcell was a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England. Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell, the youngest of the brothers, was also a prolific composer[6] who wrote the music for much of the final act of The Indian Queen after his brother Henry's death. The family lived just a few hundred yards west of Westminster Abbey from 1659 onwards.[7]

After his father's death in 1664, Purcell was placed under the guardianship of his uncle Thomas, who showed him great affection and kindness.[8] Thomas arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke,[9] Master of the Children, and afterwards under Pelham Humfrey, Cooke's successor,[10] who was a pupil of Lully.[6] The composer Matthew Locke was a family friend and, particularly with his semi-operas, probably also had a musical influence on the young Purcell. Henry was a chorister in the Chapel Royal until his voice broke in 1673 when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.[7]

Early Career

Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670, when he was eleven.[11] The dates for his compositions are often uncertain, despite considerable research. [12] It is assumed that the three-part song Sweet tyranness, I now resign was written by him as a child.[8] After Humfrey's death, Purcell continued his studies under John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.[6] Henry Purcell's earliest anthem, Lord, who can tell, was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.[13]

Purcell's manuscript copy of When on my sick bed I languish (c. 1680)

In 1679, he wrote songs for John Playford's Choice Ayres, Songs and Dialogues and an anthem, the name of which is unknown, for the Chapel Royal. From an extant letter written by Thomas Purcell we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's Chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem They that go down to the sea in ships. In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The challenging work opens with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.[6]

Dido and Aeneas

Between 1680 and 1688 Purcell wrote music for seven plays.

Leicester Fields and afterwards at Chelsea, where the opera was performed.[16] It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Each work runs to less than one hour. At the time, Dido and Aeneas never found its way to the theatre, though it appears to have been very popular in private circles. It is believed to have been extensively copied, but only one song was printed by Purcell's widow in Orpheus Britannicus, and the complete work remained in manuscript until 1840 when it was printed by the Musical Antiquarian Society under the editorship of Sir George Macfarren.[6] The composition of Dido and Aeneas gave Purcell his first chance to write a sustained musical setting of a dramatic text. It was his only opportunity to compose a work in which the music carried the entire drama.[14] The story of Dido and Aeneas derives from the original source in Virgil's epic the Aeneid.[17] During the early part of 1679, he produced two important works for the stage, the music for Nathaniel Lee's Theodosius, and Thomas d'Urfey's Virtuous Wife.[15]

In 1679, Blow, who had been appointed organist of Westminster Abbey 10 years before, resigned his office in favour of Purcell.[15] Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. He had probably written his two important stage works before taking up his new office.[6]

Westminster Abbey and Chapel Royal

Soon after Purcell's marriage in 1682, on the death of Edward Lowe, he was appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at Westminster Abbey.

Queen Mary, Arise, my muse[25] and four years later wrote one of his most elaborate, important and magnificent works – a setting for another birthday ode for the Queen, written by Nahum Tate, entitled Come Ye Sons of Art.[26]

17th-century etching of Purcell

Theatre music

In 1687, he resumed his connection with the theatre by furnishing the music for

Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars[30]), probably including "Full fathom five" and "Come unto these yellow sands".[27] The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard.[28] In these semi-operas
(another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.

In Nomine à6, Z.746 for Treble, Tenor & Bass Viols
In Nomine à7, Z.747 for Treble, Tenor & Bass Viols
Performed by Phillip W. Serna, Treble, Tenor & Bass Viols
I was Glad
Ode 1 – Sinfonia
Ode 2 – Welcome to All
Ode 3 – Hail to this Happy Assembly
Ode 4 – Here the Deities Approve
Ode 5 – While Joys Celestial
Ode 6 – Then Lift Up Your Voices
Ode 7 – Beauty, Thou Scene of Love
Ode 8 – In a Consort of Voices
Toccata in A major
Performed by Sylvia Kind
"The Queen's Dolour (A Farewell)"
Realised by Ronald Stevenson (1958), performed live by Mark Gasser

Last works

Purcell's Te Deum and Jubilate Deo were written for Saint Cecilia's Day, 1694, the first English Te Deum ever composed with orchestral accompaniment. This work was annually performed at St Paul's Cathedral until 1712, after which it was performed alternately with Handel's Utrecht Te Deum and Jubilate until 1743,[27] when both works were replaced by Handel's Dettingen Te Deum.[31]

He composed an anthem and two elegies for

Queen Mary II's funeral, his Funeral Sentences and Music for the Funeral of Queen Mary.[32] Besides the operas and semi-operas already mentioned, Purcell wrote the music and songs for Thomas d'Urfey's The Comical History of Don Quixote, Bonduca, The Indian Queen and others, a vast quantity of sacred music, and numerous odes, cantatas, and other miscellaneous pieces.[27] The quantity of his instrumental chamber music is minimal after his early career, and his keyboard music consists of an even more minimal number of harpsichord suites and organ pieces.[33] In 1693, Purcell composed music for two comedies: The Old Bachelor, and The Double Dealer. Purcell also composed for five other plays within the same year.[15] In July 1695, Purcell composed an ode for the Duke of Gloucester for his sixth birthday. The ode is titled Who can from joy refrain?[34] Purcell's four-part sonatas were issued in 1697.[15] In the final six years of his life, Purcell wrote music for forty-two plays.[15]

Death

Purcell died on 21 November 1695 at his home in Marsham Street,[n 3] at the height of his career.[27] He is believed to have been 35 or 36 years old at the time. The cause of his death is unclear: one theory is that he caught a chill after returning home late from the theatre one night to find that his wife had locked him out. Another is that he succumbed to tuberculosis.[35] The beginning of Purcell's will reads:

In the name of God Amen. I, Henry Purcell, of the City of Westminster, gentleman, being dangerously ill as to the constitution of my body, but in good and perfect mind and memory (thanks be to God) do by these presents publish and declare this to be my last Will and Testament. And I do hereby give and bequeath unto my loving wife, Frances Purcell, all my estate both real and personal of what nature and kind soever...[36]

Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his funeral. Purcell was universally mourned as "a very great master of music".  Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense spared in the north aisle of the Abbey.[37] His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that Blessed Place where only His harmony can be exceeded."[38]

Purcell and his wife Frances had six children, four of whom died in infancy. His wife, as well as his son Edward (1689–1740) and daughter Frances, survived him.[15] His wife Frances died in 1706, having published a number of her husband's works, including the now-famous collection called Orpheus Britannicus,[39] in two volumes, printed in 1698 and 1702, respectively. Edward was appointed organist of St Clement's, Eastcheap, London, in 1711 and was succeeded by his son Edward Henry Purcell (died 1765). Both men were buried in St Clement's near the organ gallery.

Legacy

Notable compositions

Main article: List of compositions by Henry Purcell

Purcell worked in many genres, both in works closely linked to the court, such as symphony song, to the Chapel Royal, such as the symphony anthem, and the theatre.[40]

Among Purcell's most notable works are his opera Dido and Aeneas (1688), his semi-operas Dioclesian (1690), King Arthur (1691), The Fairy-Queen (1692) and Timon of Athens (1695), as well as the compositions Hail! Bright Cecilia (1692), Come Ye Sons of Art (1694) and Funeral Sentences and Music for the Funeral of Queen Mary (1695).

Influence and reputation

"The Flowering of the English Baroque", bronze memorial sculpture by Glynn Williams in a small park on Victoria St, Westminster.

After his death, Purcell was honoured by many of his contemporaries, including his old friend John Blow, who wrote An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing) with text by his old collaborator, John Dryden. William Croft's 1724 setting for the Burial Service was written in the style of "the great Master". Croft preserved Purcell's setting of "Thou knowest Lord" (Z 58) in his service, for reasons "obvious to any artist"; it has been sung at every British state funeral ever since.[41] More recently, the English poet Gerard Manley Hopkins wrote a famous sonnet entitled simply "Henry Purcell", with a headnote reading: "The poet wishes well to the divine genius of Purcell and praises him that, whereas other musicians have given utterance to the moods of man's mind, he has, beyond that, uttered in notes the very make and species of man as created both in him and in all men generally."[42]

Purcell also had a strong influence on the composers of the English musical renaissance of the early 20th century, most notably

Pausanias, the Betrayer of His Country.[43]

In a 1940 interview

"Eminent Britons" commemorative postage stamp issue.[45]

A Purcell Club was founded in London in 1836 for promoting the performance of his music but was dissolved in 1863. In 1876 a Purcell Society was founded, which published new editions of his works.[27] A modern-day Purcell Club has been created, and provides guided tours and concerts in support of Westminster Abbey.[46]

Today there is a Henry Purcell Society of Boston, which performs his music in live concert.[47] There is a Purcell Society in London, which collects and studies Purcell manuscripts and musical scores, concentrating on producing revised versions of the scores of all his music.[48] Purcell's works have been catalogued by Franklin Zimmerman, who gave them a number preceded by Z.[49]

So strong was his reputation that a popular wedding processional was incorrectly attributed to Purcell for many years. The so-called Purcell's Trumpet Voluntary was in fact written around 1700 by a British composer named Jeremiah Clarke as the Prince of Denmark's March.[50]

In popular culture

Lea Desandre and Les Arts Florissants perform the "Dido's Lament" aria from Purcell's Dido and Aeneas, among his most notable works

Music for the

CBS Masterworks Records.[54] The 1995 film, England, My England, tells the story of an actor who is himself writing a play about Purcell's life and music, and features many of his compositions.[55]

In the 21st century, the

Sir John Eliot Gardiner.[59]

"What Power Art Thou" (from King Arthur, or The British Worthy (Z. 628), a semi-opera in five acts with music by Purcell and a libretto by John Dryden) is featured in The Crown.

References

Notes

  1. ^ The contemporaneous pronunciation was always with the stress on the first syllable.[1][2] The stress on the second syllable is sometimes heard today, as mentioned by the Longman Pronunciation Dictionary,[3] but it and the Oxford Companion to Music emphasise that stress on the first syllable is the standard pronunciation in both the United Kingdom and North America. The stress on the second syllable is so rare that some English dictionaries do not even mention it, such as the Collins English Dictionary and the Oxford Learner's Dictionary.
  2. ^ During Purcell's lifetime, England and Ireland observed the Julian calendar. According to Holman & Thompson (2001), there is uncertainty regarding the year and day of birth. No record of baptism has been found. The year 1659 is based on Purcell's memorial tablet in Westminster Abbey and the frontispiece of his Sonnata's of III. Parts (London, 1683). The day 10 September is based on vague inscriptions in the manuscript GB-Cfm 88. It may also be relevant that he was appointed to his first salaried post on 10 September 1677, which would have been his 18th birthday.
  3. ^ Often miscited as Dean's Yard; Frederick Bridge in his brief biography of 1920, Twelve Good Composers, uses rental information/rate sheets to clear this up.

Citations

  1. ^ On pronouncing Purcell by David Crystal
  2. ^ Linguism, Graham Pointon -. (13 May 2009). "Henry Purcell – Linguism". Linguism – Language in a Word.
  3. ISBN 0-582-36467-1
  4. ^ a b Holman & Thompson 2001.
  5. ^ Nagley & Milsom 2011, § para. 3.
  6. ^ a b c d e f g Chisholm 1911, p. 658.
  7. ^ a b Zimmerman 1967, p. 34.
  8. ^ a b Westrup 1975, p. 8.
  9. ^ Burden 1995a, p. 55.
  10. ^ Burden 1995a, p. 58.
  11. ^ Zimmerman 1967, p. 29.
  12. JSTOR 737241
    . Retrieved 25 October 2022.
  13. ^ Zimmerman 1967, p. 65.
  14. ^ a b Harris 1987, p. 6.
  15. ^ a b c d e f g Runciman 1909.
  16. ^ a b Hutchings 1982, p. 54.
  17. ^ Harris 1987, p. 11.
  18. ^ a b Hutchings, Arthur. Purcell. (London: British Broadcasting Corporation, 1982), 85.
  19. ^ Westrup 1975, p. 41.
  20. ^ "No. 1872". The London Gazette. 25 October 1683. p. 2.
  21. ^ "No. 1874". The London Gazette. 1 November 1683. p. 2. Announcements of the publication of Purcell's Sonata, first for subscribers, then for general purchase
  22. ^ "No. 1928". The London Gazette. 8 May 1684. p. 2.
  23. ^ "No. 2001". The London Gazette. 19 January 1684. p. 2. Announcements of the publication of Purcell's Ode for St Cecilia's Day, first performed, 22 November 1683
  24. ^ Chisholm 1911, pp. 658–659.
  25. ^ Tore Frantzvåg Steenslid (2004). "Arise, my muse". steenslid.com. Retrieved 3 December 2013.
  26. ^ Westrup 1975, p. 77.
  27. ^ a b c d e f Chisholm 1911, p. 659.
  28. ^ a b Hutchings 1982, p. 55.
  29. ^ Westrup 1975, p. 75.
  30. ^ "Henry Purcell – The Tempest, Z.631 (semi-opera)". classicalarchives.com.
  31. ^ Westrup 1975, p. 80.
  32. ^ Westrup 1975, pp. 82–83.
  33. ^ Westrup 1975, p. 81.
  34. ^ Westrup 1975, p. 83.
  35. ^ Zimmerman 1967, p. 266.
  36. ^ Westrup 1975, p. 85.
  37. ^ Zimmerman 1967, p. 267.
  38. ^ Westrup 1975, p. 86.
  39. ^ Chisholm 1911.
  40. ISBN 978-0521028110
    . The distinctive nature of the symphony song, a genre as closely linked to the court as the symphony anthem was to the Chapel Royal, 16 is underlined by the principal concordance of the longer works in R.M. 20.h.8, Lbl Add. 33287
  41. ISBN 978-0-8108-5751-3
    (p.93)
  42. ^ International Hopkins Association (2018). "Henry Purcell". Gerard Manley Hopkins. Retrieved 19 November 2020.
  43. ^ Brett, Philip (1990). Britten's Dream (Brief essay to accompany the Britten recording). Decca Records.
  44. ISBN 9781784422585
    .
  45. ^ "The Royal Mail celebrate eminent Britons". The Times. 8 October 2009. Retrieved 30 September 2022.
  46. ^ "Purcell Club : a Private Musical Tour of Westminster Abbey". Anglo-Netherlands Society. Retrieved 18 August 2022.
  47. ^ "Virtual Season 2020". Henry Purcell Society of Boston. 2020.
  48. ^ "The Purcell Society". The Purcell Society. Retrieved 29 December 2021.
  49. ISBN 9780521028110
    .
  50. JSTOR 959617
    .
  51. ^ "Jethro Tull Press: Rolling Stone, 30 August 1973". tullpress.com. Archived from the original on 3 March 2016.
  52. ^ Radio Times, 24–30 October 2009, previewing Baroque and Roll (BBC Radio 4, 27 October 2009).
  53. ^ Jim Paterson. "Henry Purcell – an overview of the classical composer". mfiles.co.uk.
  54. ^ Pollock, Dale (27 November 1979). "Kramer Vs. Kramer". Variety. Retrieved 20 November 2020.
  55. ^ Elley, Derek (19 November 1995). "England, My England". Variety. Retrieved 20 November 2020.
  56. ^ Chester Music Ltd (World) (2020). "Chasing Sheep is Best Left to Shepherds (The Draughtsman's Contract) (1982)". Wise Music Classical. Retrieved 20 November 2020.
  57. ^ Songfacts (2020). "Love Is A Bourgeois Construct by Pet Shop Boys". Retrieved 20 November 2020.
  58. ^ "The Delicate Intensity of Olivia Chaney". WNYC.
  59. ^ The Favourite Soundtrack - Trumpet Sonata in D Major, Z. 850 - 2. Adagio, retrieved 13 June 2023

Sources

Further reading

  • Burden, Michael (1995b). Purcell Remembered. London:
    Faber and Faber
    .
  • Burden, Michael, ed. (1996). Performing the Music of Henry Purcell. Oxford:
    Clarendon Press
    .
  • Burden, Michael, ed. (2000). Henry Purcell's Operas; The Complete Texts. Oxford: Oxford University Press.
  • Herissone, Rebecca, ed. (2012). The Ashgate Research Companion to Henry Purcell. Farnham: Ashagte.
  • Dent, Edward Joseph (1928). Foundations of English Opera. Cambridge: Cambridge University Press.
  • Duffy, Maureen (1994). Henry Purcell. London: Fourth Estate Ltd.
  • Keates, Jonathan (1995). Purcell. London: Chatto & Windus.
  • King, Robert (1994). Henry Purcell. London: Thames & Hudson.
  • Holman, Peter (1994). Henry Purcell. Oxford: Oxford University Press.
  • Holst, Imogen, ed. (1959). Henry Purcell 1659–1695: Essays on His Music. London: Oxford University Press.
  • Moore, R. E. (1961). Henry Purcell and the Restoration Theatre. Westport:
    Greenwood Press
    .
  • Muller, Julia (1990). Words and Music in Henry Purcell's First Semi-Opera, Dioclesian. New York: Edwin Mellen Press.
  • Orrey, Leslie; Milnes, Rodney (1987). Opera: A Concise History. London:
    ISBN 978-0-500-20217-3
    .
  • Price, Curtis A. (1984). Henry Purcell and the London Stage. Cambridge: Cambridge University Press.
  • Shay, Robert; Thompson, Robert (2000). Purcell Manuscripts: The Principal Musical Sources. Cambridge: Cambridge University Press.

External links

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Preceded by
Organist and Master of the Choristers of Westminster Abbey

1679–1695 		Succeeded by
John Blow (re-appointed)
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